In this paper, I will try to look at Leibniz from the topos of Indian philosophy. François Jullien called such a strategy “dépayser la pensée” – to withdraw an idea from its familiar environment and to see it through the lens of a different culture. “Read Confucius to better understand Plato.” I am referring to Indian philosophy, especially to some Buddhist systems, in order to highlight certain aspects of Leibniz’s mode of thinking, that I define as “atomistic approach”.

La filosofía de Wolff y Baumgarten ha sido tradicionalmente evaluada como nada más que una sistematización, carente de toda originalidad, de las doctrinas de Leibniz. El presente trabajo revisa esta opinión generaliza, concentrándose en el problema específico de la interacción de las sustancias naturales. Se muestra que Wolff y Baumgarten no siguen a Leibniz con el mismo grado de cercanía en relación a algunos de los principios centrales de la teoría armonía preestablecida y, con ello, se problematiza el uso de (...) la etiqueta “leibnizianismo” como referida a un cuerpo homogéneo e indiferenciado de doctrinas. (shrink)

This article aims to make further progress in revising the standard account of Wolff’s philosophy as a popularisation and systematisation of Leibniz’s doctrines. It focuses on the topic of the communication among substances and the metaphysics of simples and activity underlying it. It is argued that Wolff does not accept the pre-established harmony in its orthodox Leibnizian version. The article explains Wolff’s departure from Leibniz’s PEH as stemming from his rejection of Leibniz’s construal of the activity of every simple as (...) representational power and of the metaphysics of unity and activity in which that construal is rooted. (shrink)

Leibniz argues that there must be a fundamental level of simple substances because composites borrow their reality from their constituents and not all reality can be borrowed. I contend that the underlying logic of this ‘borrowed reality argument’ has been misunderstood, particularly the rationale for the key premise that not all reality can be borrowed. Contrary to what has been suggested, the rationale turns neither on the alleged viciousness of an unending regress of reality borrowers nor on the Principle of (...) Sufficient Reason, but on the idea that composites are phenomena and thus can be real only insofar as they have a foundation in substances, from which they directly ‘borrow’ their reality. The claim that composites are phenomena rests in turn on Leibniz's conceptualism about relations. So understood, what initially looked like a disappointingly simple argument for simples turns out to be a rather rich and sophisticated one. (shrink)

Drawing on remarks scattered through his writings, I argue that Leibniz has a highly distinctive and interesting theory of color. The central feature of the theory is the way in which it combines a nuanced subjectivism about color with a reductive approach of a sort usually associated with objectivist theories of color. After reconstructing Leibniz's theory and calling attention to some of its most notable attractions, I turn to the apparent incompatibility of its subjective and reductive components. I argue that (...) this apparent tension vanishes in light of his rejection of a widely accepted doctrine concerning the nature of bodies and their geometrical qualities. (shrink)

I propose a straightforward reconciliation of Leibniz’s conception of bodies as aggregates of simple substances (i.e., monads) with his doctrine that bodies are the phenomena of perceivers, without in the process saddling him with any equivocations. The reconciliation relies on the familiar idea that in Leibniz’s idiolect, an aggregate of Fs is that which immediately presupposes those Fs, or in other words, has those Fs as immediate requisites. But I take this idea in a new direction. Taking notice of the (...) fact that Leibniz speaks of three respects in which one thing may immediately presuppose others--i.e., with respect to its being, its existence, and its reality--I argue that a phenomenon having its being in one perceiving substance (monad) can plausibly be understood to presuppose other perceiving substances (monads) in two of these respects. Accordingly, good sense can be made of both the claim that a phenomenon in one monad is an aggregate of other monads (in Leibniz’s technical sense of 'aggregate') and the (equivalent) claim that the latter monads are constituents of the phenomenon (in his technical sense of 'constituent'). So understood, the two conceptions of body are perfectly compatible, just as Leibniz seems to think. (shrink)

Between 1698 and 1706 Leibniz was engaged in one of his most interesting correspondences, with the Dutch philosopher and physicist Burcher de Volder. The two men were concerned primarily with the question of how the motion of bodies can be explained without appeal to the direct intervention of God. Leibniz presented a naturalistic account of motion to De Volder, but failed to convince him of its adequacy. I shall examine one reason for this failure - the disagreement that arose over (...) the issue of whether there is a substance whose nature is constituted by extension. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

Las filosofías de Wolff y Baumgarten han sido tradicionalmente evaluadas como una mera sistematización de las doctrinas de Leibniz, carente de toda originalidad. Se revisa esta opinión, concentrándose en el problema específico de la interacción de las sustancias naturales. Se muestra que ellos no siguen a Leibniz con el mismo grado de cercanía en algunos de los principios centrales de la teoría de la armonía preestablecida. Se problematiza así el uso de la etiqueta "leibnizianismo" como referida a un cuerpo homogéneo (...) e indiferenciado de doctrinas. The philosophies of Wolff and Baumgarten have been traditionally evaluated as mere systematizations of the doctrines of Leibniz, and, therefore, as lacking all originality. The paper revises that opinion, focusing on the specific problem of the interaction of natural substances, in order to show that they do not follow Leibniz as closely with respect to some of the central principles of pre-established harmony. It also questions the use of "Leibnizianism" as a label to refer to a homogeneous and undifferentiated body of doctrines. As filosofias de Wolff e Baumgarten têm sido tradicionalmente avaliadas como uma mera sistematização das doutrinas de Leibniz, carente de toda originalidade. Neste artigo, revisa-se essa opinião concentrando-se no problema específico da interação das substâncias naturais. Mostra-se que eles não seguem Leibniz com o mesmo grau de aproximação em alguns dos princípios centrais da teoria da harmonia preestabelecida. Problematiza-se, assim, o uso da etiqueta "leibnizianismo" como referência a um corpo homogêneo e indiferenciado de doutrinas. (shrink)